how make 8 LUFS 8(Tarjet) for all songs

Hy Guys!!
Well, i do it some songs for a CD and put in web. I have a problem. I have a song work perfect in 8 LUFS and have other works in 12 LUFS if i try do it this song (12 LUFS) to 8 LUFS im broken song,i say, the song lost emotion, dinamics.Because this song is soft , and the other is Rock ( Indie rock or some like these O.o)
If i put maybe in 14 LUFS for all song , i listen some song need much energy, like, indie rock, rock,etc.
I need yours opinion. What can i do? can give me ideas?
Thanks and sorry for my very sad english.

If you upload these song for instance at YT, they all we be lowered to -16 LUFS (other platforms have similar targets, even though not the same).

Sure, different genres need different LUFS values and if they all have the same peak level, which should be -1dBFS, I wouldn't adjust them all to the same LUFS level, it would do the songs no justice.

Click to expand...

Yes, true. Is for youtube, itunes, etc. U know,all these. I think in -16 LUFS and it's ok Realy? Because they have automatic level to put in -16 LUFS. But my question is , if i do it is...I must do it some song strong in -7 ( Rock,etc) and next put in -16 LUFS? or i do Mastering all in -16 LUFS?..Thanks!

I find this to be very insightful and a direct response to the OP. I got a mail from Ian Shepperd from Production Advice. I hope it's useful. This is a copy/paste from the mail I got:
DON’T aim for LUFS targets online !

​

All the online streaming services play music back at roughly -14 LUFS, so that’s the level we should aim for when we’re mastering, right ?

Wrong.

That may sound strange, given how much I’ve talked about online loudness over the years – but I'm serious. In this show we dive deeper into one of the points we discussed in the last episode: why you shouldn’t be aiming for specific integrated LUFS values when mastering you music for online streaming. But, why it's still useful to know how your music will be affected.

Topics we cover include:

A quick introduction to normalization

How it works

Why peak normalisation is useless for matching loudness

Why mastering songs to a specific LUFS value doesn’t work

So why are LUFS measurements of streaming services useful AT ALL ?

When Spotify’s normalization fails

The biggest problem with normalization right now

Please take a minute to share the show with your friends, if you like it, and leave us a rating and review:

First, I personally think that a general LUFS target is crap. I know why they do it, but it doesn't work for me. EDM and Rock/HM has to be louder and a lot of classical music isn't even close to it. Second there are too many different targets and every platform can change it whenever they want and in every way they want, third, it's not combined with the so called Dynamic Range (technically this expression is wrong, but...).I would adjust the peak levels to -1dBFS and the LUFS to whatever suits best for the songs/genre in your opinion, without squeezing the hell out of Rock/HM and EDM (-8 could be close). This way the songs will sound best on CD.
But if a customer would insist on the different LUFS targets and pay me for it...

First, I personally think that a general LUFS target is crap. I know why they do it, but it doesn't work for me. EDM and Rock/HM has to be louder and a lot of classical music isn't even close to it. Second there are too many different targets and every platform can change it whenever they want and in every way they want, third, it's not combined with the so called Dynamic Range (technically this expression is wrong, but...).I would adjust the peak levels to -1dBFS and the LUFS to whatever suits best for the songs/genre in your opinion, without squeezing the hell out of Rock/HM and EDM (-8 could be close). This way the songs will sound best on CD.
But if a customer would insist on the different LUFS targets and pay me for it...

Click to expand...

Yes ,is true. All songs need diferent expresion. If a put the same target for a soft song and strong song,this no work. Now i think how work in that. Thank u bro!

I find this to be very insightful and a direct response to the OP. I got a mail from Ian Shepperd from Production Advice. I hope it's useful. This is a copy/paste from the mail I got:
DON’T aim for LUFS targets online !

​

All the online streaming services play music back at roughly -14 LUFS, so that’s the level we should aim for when we’re mastering, right ?

Wrong.

That may sound strange, given how much I’ve talked about online loudness over the years – but I'm serious. In this show we dive deeper into one of the points we discussed in the last episode: why you shouldn’t be aiming for specific integrated LUFS values when mastering you music for online streaming. But, why it's still useful to know how your music will be affected.

Topics we cover include:

A quick introduction to normalization

How it works

Why peak normalisation is useless for matching loudness

Why mastering songs to a specific LUFS value doesn’t work

So why are LUFS measurements of streaming services useful AT ALL ?

When Spotify’s normalization fails

The biggest problem with normalization right now

Please take a minute to share the show with your friends, if you like it, and leave us a rating and review:

I just work to whatever level works for the music. With different streaming services having different target levels anyway it seem pointless - or maybe impossible - to accommodate them all.

I'm also not convinced about the apparent levels on YouTube because I have listened to many tracks and, if YouTube works to a set level, then they should all sound the same but they don't. The loud tracks are still loud and the softer tracks, which presumably should have their volume increased to match the standard level, still sound quiet.

I'm also not convinced about the apparent levels on YouTube because I have listened to many tracks and, if YouTube works to a set level, then they should all sound the same but they don't. The loud tracks are still loud and the softer tracks, which presumably should have their volume increased to match the standard level, still sound quiet.

All songs have different elements. If you introduced a powerful synth sound into a song with a strong RMS level it will bring up the average volume. Compressing a track bring up the overall RMS because it squeezes the peaks into the overall sound, leanthening the time of sound at a specific volume therefore averaging a louder ovule over time. Yes this will make the track sound louder, but it isn't really louder. It's also what destroys the dynamics. The 2 approaches would be tomaster to a lower RMS.

Mastering songs to different levels might make the album feel unbalanced, however you might find that you can find a happy medium that suits the songs as well as the album.

If they are not all going into an album and it's just a general aim to have all songs at the same RMS - I wouldn't go that route. Rock songs are for me lower RMS than EDM. It's also taste, and unless your song is to go onto a big radio station (which I would use a mastering engineer for I think) I assume that most people will get a good level from YouTube or wherever.

reaLLY..... take your -0.3 db headroom, and do not use brickwall too much. why do you try 8 lufs? are you doing broadcast stuff? if its just music, than you do not need it.

lufs is a try to establish a standard for broadcast, so all blue rays from us,jp, euro are having (hopefully) the same loudness for playing

the more tools and plugin out there, less bedroom informations are still in a board. actually audio engeneering is a job, you have to master 4000 tracks, than you just have a glime for the right weighting and balancing for volume.

actually your hole compilation should have similar vol. its the fluidness that is really wanted, and so often today distroyed by bedroom mastering guys wif half know how